Betty Dodson Quotes

I'm working when I'm fighting with my wife. I constantly ask myself-how can I use this stuff to literary advantage.

If you are going to be a writer there is nothing I can say to stop you; if you're not going to be a writer nothing I can say will help you. What you really need at the beginning is somebody to let you know that the effort is real.

If you want to be a writer, I have two pieces of advice. One is to be a reader. I think that's one of the most important parts of learning to write. The other piece of advice is 'Just do it!' Don't think about it, don't agonize, sit down and write.

I think it's especially important for an editor to say what he's enjoying. For a novelist to be told, midstream, what he's doing right can actually influence the unwritten parts of a novel in a positive way - praise helps a writer know what's good about what he's written, what's interesting and exciting, and what to work for in writing the conclusion.

But sometimes when I was starting a new story and I could not get it going, I would sit in front of the fire and squeeze the peel of the little oranges into the edge of the flame and watch the sputter of blue that they made. I would stand and look out over the roofs of Paris and think, 'Do not worry. You have always written before and you will write now. All you have to do is write one true sentence. Write the truest sentence that you know.' So finally I would write one true sentence, and then go on from there.

Nothing stinks like a pile of unpublished writing, which remark I guess shows I still don't have a pure motive (O it's-such-fun-I-just-can't-stop-who-cares-if-it's-published-or-read) about writing.

It's harder to write two people happy and in love than two people fighting and driving each other crazy.

The desire to be liked is acceptable in real life but very problematic in fiction. Pleasantness is the enemy of good fiction. I try to write on the premise that no one is going to read my work. Because there's this terrible impulse to grovel before the reader, to make them like you, to write with the reader in mind in that way. It prevents you doing work that is ugly or upsetting or difficult. The temptation is to not be true to what you want to write and to be considerate or amusing instead. I'm always trying to fight against the impulse to make my readers like me.

I got so discouraged, I almost stopped writing. It was my 12-year-old son who changed my mind when he said to me, "Mother, you've been very cross and edgy with us and we notice you haven't been writing. We wish you'd go back to the typewriter. That did a lot of good for my false guilts about spending so much time writing. At that point, I acknowledged that I am a writer and even if I were never published again, that's what I am."

One can write out of love or hate. Hate tells one a great deal about a person. Love makes one become the person. Love, contrary to legend, is not half as blind, at least for writing purposes, as hate. Love can see the evil and not cease to be love. Hate cannot see the good and remain hate. The writer, writing out of hatred, will, thus, paint a far more partial picture than if he had written out of love.

It is odd that we never question the feasibility of a football team practicing long hours for one game; yet in writing we rarely give ourselves the space for practice.

When I'm writing, I write. And then it's as if the muse is convinced that I'm serious and says, 'Okay. Okay. I'll come.'

I'm writing. The pages are starting to stack up. My morale is improving the more I feel like a writer.

Why did I write? What sin to me unknown dipped me in ink, my parents , or my own?

A story to me must have some surprise...I must have a passion to write the story.

I've never been that person who thought that because I've written one novel, I should write another and another. It's only when there was another novel to write that I was going to write another.

As a digital creator, there's been so much pressure to write a book because so many of my peers have done it. I've been very adamant about saying, "No! I don't want to release a book just for the sake of writing a book. I'm going to write a book when I feel like I have something to say in a book."

Your job as an executive is to edit, not write. It's OK to write once in a while but if you do it often there's a fundamental problem with the team. Every time you do something ask if you're writing or editing and get in the mode of editing.

I don't know what it is that makes a writer go to his desk in his shut-off room day after day after year after year unless it is the sure knowledge that not to have done the daily stint of writing that day is infinitely more agonizing than to write.

Never stop writing because you have run out of ideas.

I feel sometimes an American artist must feel, like a baseball player or something - a member of a team writing American history.

I've never worked a day in my life. The joy of writing has propelled me from day to day and year to year. I want you to envy me, my joy. Get out of here tonight and say: 'Am I being joyful?' And if you've got a writer's block, you can cure it this evening by stopping whatever you're writing and doing something else. You picked the wrong subject.

Write a novel if you must, but think of money as an unlikely accident. Get your reward out of writing it, and try to be content with that.

I never know the endings when I write. It's a turnoff when you know the ending. You lose much of your incentive to write when you already know. It's like seeing a movie a second time.

The effect of the coke on our relationship [with my wife Brenda] was very sick. Now that it's over, those were actually funny times. Looking for each other's coke, hiding it, finding it, doing some, not telling the other. Then fighting over it.